Aug 17, 2026 · 34 min · 11 segments
Terence joins Rob Cope to chat about his new album, DNA, coming out 21st August on Adhyâropa Records. We discuss his influences, compositional inspirations as well as what makes our personal ancestry…
Rob CopeHost
Terence CollieGuest
Um, yeah, I was talking to Ruth, the, the vio- the violinist, and she had a really good phrase, "Everything sounds better with strings," in her opinion.
Um, yeah, they, they, they just sound, you know, they, they work as a unit really well.
Um, and, and, you know, that's not an easy thing to do, you know, everyone to, to, to articulate together at the same time, and to play, play as a unit.
Many years ago I met her actually on a, on a gig where she was- Playing solos on jazz standards, and I thought, "That's really interesting." Yeah, just, uh, 'cause you can get very good, very good string players who are very, you know, in their, in doing their thing, maybe doing a classical thing or, but they may not be the greatest improvisers.
Or you might have improvisers who may not be the greatest readers or greatest ensemble players, but she ticked all the boxes.
So, um, you know, it was one of the reasons I asked her to, to be involved, you know, from the outset.
How much do they bring when you're showing arrangements and you're showing your work in terms of the string writing and their expertise as musicians versus yours as a composer of your own music?
Yeah, I pretty much write everything out, and I, I send it to Ruth, and she adds the kind of bowing and articulation.
And, um, so for this recording, we, we didn't have a rehearsal with the strings at all.
And so they just ba- basically turned up on the day, and I was hearing them play it for the first time live in the room.
And, uh, and it was, yeah, and it was above and beyond my kind of expectations really.
It was, uh, you know, 'cause you, you hear the kind of sampled, sampled versions of things, and you have an idea of what it was, it's, it's gonna sound like.
But there's nothing quite like real acoustic instruments with the depth of tone and the, and they all seem to have the same, be on the same dynamic at the...
Um, yeah, I was talking to Ruth, the, the vio- the violinist, and she had a really good phrase, "Everything sounds better with strings," in her opinion.
Um, yeah, they, they, they just sound, you know, they, they work as a unit really well.
Um, and, and, you know, that's not an easy thing to do, you know, everyone to, to, to articulate together at the same time, and to play, play as a unit.
Many years ago I met her actually on a, on a gig where she was- Playing solos on jazz standards, and I thought, "That's really interesting." Yeah, just, uh, 'cause you can get very good, very good string players who are very, you know, in their, in doing their thing, maybe doing a classical thing or, but they may not be the greatest improvisers.
Or you might have improvisers who may not be the greatest readers or greatest ensemble players, but she ticked all the boxes.
So, um, you know, it was one of the reasons I asked her to, to be involved, you know, from the outset.
How much do they bring when you're showing arrangements and you're showing your work in terms of the string writing and their expertise as musicians versus yours as a composer of your own music?
Yeah, I pretty much write everything out, and I, I send it to Ruth, and she adds the kind of bowing and articulation.
And, um, so for this recording, we, we didn't have a rehearsal with the strings at all.
And so they just ba- basically turned up on the day, and I was hearing them play it for the first time live in the room.
And, uh, and it was, yeah, and it was above and beyond my kind of expectations really.
It was, uh, you know, 'cause you, you hear the kind of sampled, sampled versions of things, and you have an idea of what it was, it's, it's gonna sound like.
But there's nothing quite like real acoustic instruments with the depth of tone and the, and they all seem to have the same, be on the same dynamic at the...
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